Six Short Plays Of Eugene O'Neill "I love life. But I don't love life because it is pretty. Prettiness is only clothes-deep. I am a truer lover than that. I love it naked. There is beauty to me even in its ugliness. In fact, I deny the ugliness entirely, for its vices are often nobler than its virtues, and nearly always closer to a revelation ....To me, the tragic alone has that significant beauty which is truth. It is the meaning of life -- and the hope. The noblest is eternally the most tragic. The people who succeed and do not push on to a greater failure are the spiritual middle-classers. Their stopping at success is the proof of their compromising insignificance. How petty their dreams must have been!"-- Eugene O'Neill, from the biography by Barbara and Arthur Gelb

This Is A New Release Of The Original 1916 Edition.

O'Neill's themes and concerns find expression in his one-act plays which are the dramatic equivalent of short stories. Here are nine one-act plays that span the playwright's career.

THE STORY: Originally produced on Broadway, revived to sellout houses in 1996 starring Al Pacino, HUGHIE was one of O'Neill's last works. It was originally intended as part of a series of short plays, but it became the lone survivor when O'Neill de

The only American dramatist awarded the Nobel Prize for Literature, Eugene O’Neill wrote with poetic expressiveness, emotional intensity, and immense dramatic power. This Library of America volume (the first in a three-volume set) contains twenty-nine plays he wrote between 1913, when he began his career, and 1920, the year he first achieved Broadway success. Many of O’Neill’s early plays are one-act melodramas whose characters are caught in extreme situations. Thirst and Fog depict shipwreck survivors, The Web a young mother trapped in the New York underworld, and Abortion the aftermath of a college student’s affair with a stenographer. His first distinctive works are four one-act plays about the crew of the tramp steamer Glencairn that render sailors’ speech with masterful faithfulness. Bound East for Cardiff, In the Zone, The Long Voyage Home, and The Moon of the Caribbees portray these “children of the sea” as they watch over a dying man, sail though submarine-patrolled waters, take their shore leave in a London dive, and drink rum in a moonlit tropical anchorage. In Beyond the Horizon Robert Mayo begins a tragic chain of events by abandoning his dream of a life at sea, choosing instead to marry the woman his brother loves and remain on his family farm. The sea in “Anna Christie” is both “dat ole devil” to coal barge captain Chris Christopherson and a source of spiritual cleansing to his daughter Anna, an embittered prostitute. When a swaggering stoker falls in love with her, Anna becomes the apex of a three-sided struggle full of enraged pride, grim foreboding, and stubborn hope. Both of these plays won the Pulitzer Prize and helped establish O’Neill as a successful Broadway playwright. The Emperor Jones depicts the nightmarish journey through a West Indian forest of Brutus Jones, a former Pullman porter turned island ruler. Fleeing his rebellious subjects, Jones confronts his violent deeds and the tortured history of his race in a series of hallucinatory episodes whose expressionist quality anticipates many of O’Neill’s later plays. LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation’s literary heritage by publishing, and keeping permanently in print, America’s best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.

Early play by Nobel Prize winning playwright. Sea captain and his wife confront hunger, mutiny and madness on a rugged whaling expedition.

The American classic—as you’ve never experienced it before. This multimedia edition, edited by William Davies King, offers an interactive guide to O’Neill’s masterpiece. -- Hear rare archival recordings of Eugene O’Neill reading key scenes. -- Discover O’Neill’s creative process through the tiny pencil notes in his original manuscripts and outlines. -- Watch actors wrestle with the play in exclusive rehearsal footage. -- Experience clips from a full production of the play. -- Tour Monte Cristo Cottage, the site of the events in Long Day’s Journey Into Night, and Tao House, where the play was written. -- Delve into O’Neill’s world through photographs, letters, and diary entries. And much, much more in this multimedia eBook.

A selection of early work—including two Pulitzer Prize-winning plays—from Eugene O'Neill, winner of the Nobel Prize in Literature A Penguin Classic Included in this volume are seven one-act plays (The Moon of the Caribbees, Bound East for Cardiff, In the Zone, The Long Voyage Home, Ile, Where the Cross Is Made, and The Rope), and five full-length plays (Beyond the Horizon, The Straw, Anna Christie, and the classics The Emperor Jones and The Hairy Ape), all written between 1914 and 1921 and produced for the stage between 1916 and 1922. The majority of these plays are heavily influenced by German expressionism—Freud, Nietzsche, Strindberg, and the radical leftist politics in which O'Neill was involved during his youth. Also included in this unique collection is the little-known and highly autobiographical play The Straw, which draws on O'Neill's confinement in the Gaylord Farm Sanatorium.

A Wife for a Life, The Movie Man, The Sniper, Abortion, Thirst, The Web, Warnings, Fog, Recklessness and Servitude.

'Diff'Rent' is a two-act play about married life written by Eugene O'Neill. The story unfolds in the parlor of the Crosby home, located on a side street of a seaport village in New England. It was mid-afternoon of a day in late spring in the year 1890. Bright sunlight streams through the windows on the left. Through the window and the screen door in the rear the fresh green of the lawn and of the elm trees that line the street can be seen. Stiff, white curtains are at all the windows. Emma Crosby and Caleb Williams are sitting at the parlor. Emma is a slender girl of twenty, rather under the medium height. Her face, in spite of its plain features, gives an impression of prettiness, due to her large, soft blue eyes which have an incongruous quality of absent-minded romantic dreaminess about them. Her mouth and chin are heavy, full of a self-willed stubbornness. Although her body is slight and thin, there is a quick, nervous vitality about all her movements that reveals an underlying constitution of reserve power and health. She has light brown hair, thick and heavy.